”Now that Gerhard Nordström and Pernilla Hägg Nordström have decided to exhibit together, it’s next to unavoidable to compare them. And with the displayed paintings at hand their kinship becomes apparent. Their colouristic sensibility joins them, and both work figuratively with nature as their primary source of inspiration. But while Gerhard Nordström preferres an impastoed and structured touch, Pernilla Hägg Nordström works with thin layers of silken linseed paint. And where Gerhard analyses in matter-of-fact manner, Pernilla deepens the contents of her paintings with a poetic and almost metaphysical tone.”

“Unfortunately, the exhibition at Rostrum is very small, with only four pieces by Gerhard Nordström and five by Pernilla Hägg Nordström. But even if the quality compensates abundantly for the lack in quantity, this exhibition whets the apetite. And I would have loved to see more.” Skånska Dagbladet, 2008 on "Growing structures".

”Most of all, it’s pedagogical and engaged, but in the midst of the indignation there is also room for beauty in the conscientious interpretation of nature’s fantastic habitants.” Sydsvenska Dagbladet, 2007 on ”Noah’s Ark”.

”…the collaboration between living plant forms and formal organisation (attains) a richness and subtlety that thoroughly justifies the titles – not the least by, in a way, resemble the equilibristic pattern of a poem.” Helsingborgs Dagblad, 2006 on ”Poem”.

“She paints and exposes the collaboration between light, warmth, water and earth, that produces dazzling flowers and a splendid verdure.”“... a quiet devotion to the dizzy power of nature.”Ystad Allehanda, 2003 on “Paintings from my garden”.

“It’s a painting of tremendous sensitivity and finesse where she captures, with intuitive certainty, the right shapes to be fitted into a whole, coherent rythm and movement.” Arbetet, 2000 on “Paintings from my garden”.

“It’s an extraordinarily beautiful and harmonic, but still highly charged collection, that clearly manifests her position as perhaps one of our most promising artists of the nineties.” Arbetet, 1994 on “Nature and structure”.

“Life sighs through her pictures, branches creak against each other, the leaves rustle, and the very earth seems to contribute with its own pulse.”“At times, this delirium of joy seems even sensual.” Ystad Allehanda, 1993 on “Nature and structure”.